The 2014 Austin Magic Auction.

•April 11, 2014 • Leave a Comment

I am delighted to share an account of the 2014 Austin Magic Auction by my guest blogger Susan (aka Mrs. Nick) Lewin. I had really wanted to attend the auction and was delighted to read Susan’s run down of the event. I will be there next year– it sounds great!

2014 Auction TeamOn Saturday afternoon April 5, I was fortunate to spend time at the annual World Famous Austin Magic Auction in Cedar Park, Texas (a suburb of Austin) for IBM Ring 60 that has been a standing tradition for 30 years. The auction was well attended by magi from Austin, Dallas, Houston, San Antonio and out of state. The entrance fee for everyone including the auctioneers was ten dollars and well worth the price of admission.

The event was a beautifully coordinated with masses of computerized sales going on. The rotating auctioneers included the hilarious David Hira, attorney Grant Walsh and fez fatale Scott Wells. These magicians did an amazing job selling and demonstrating hundreds of magic props and collector items over a ten-hour span with grace, charm and wit. The effervescent auction chairperson, Trixie Bond, was the perfect hostess and kept everything flowing, handling all those minute details that pop up during the course of an event.

The auction was divided into two rooms: the silent auction and the live auction. In the church hall, tables were set up by category and each item was clearly marked, bagged and computerized. My favorite table was the eclectic grab bag table and I sized it up for eliminating a lot of Nick’s “junk” for next year. Fascinating to see all the empty black trunks for sale: it looked the Lewin garage.

The sanctuary had a huge stage that held props and illusions and the attendees sat in the pews. The auctioneers were beautifully ‘mic’d,’ extremely talented at their job, keeping it moving at a break neck pace. David Magee commented to me on FaceBook: “You’ve been here three months and we finally got you into church.” My response was, “You Texans roped me in.”

The kids from the Fantastic Magic Camp in their brightly colored red tee shirts were hard at work distributing the auction purchases and selling photoconcessions. All the items were computerized and well marked. The bidding was intense and most items sold until the very end when money was beginning to thin, as well as the audience. Some might say they were “magicked out” by 6 PM.

I knew some of the magi including Alex Gutierrez, S.P. Lodge, Doug Gorman, Dwayne Stanton and David Hira and enjoyed meeting chairperson Trixie Bond, Paul Mimms, Michael Tallon and co-chairperson J.D. Stewart.

The ladies at the back of the room had every item bagged, labeled, checked and paid for—it was a regular machine. They were extremely efficient and Heather did a terrific job coordinating offers on products for sale. I was thrilled that the six of the seven items that we submitted sold. The ring’s charge is twelve percent and worth every penny.

With true Texas hospitality, complimentary healthy snacks were provided by Doc Seaton; these including nuts, tangerines, water and my personal favorite Fritos. Pizza, spaghetti and salad lunch were also available for purchase.

I am looking forward to the World Famous Austin Magic Auction of 2015 and have it marked in my datebook.


Five really great tricks (and why!)

•April 4, 2014 • 2 Comments

There are so many great tricks that I have seen over the years that compiling my list of five greatest tricks this week is going to prove another very tough experiment in exclusion! I decided to continue in my previous footsteps as I compose my list and to keep the list highly personal and based on the impact that they hit me with as performed by specific performers. The Zig Zag Lady. harbinzigzag2While I am not much of a fan of Grand Illusion I would have to say that this effect is truly a classic and deserves to be very close to the top of my list. The reason is simple, it really, really fooled me for many years, and I just couldn’t get my mind around a solution. Eventually after seeing enough mediocre versions I tumbled to all the subtleties involved. I still wish I hadn’t. As presented originally by its creator, Robert Harbin this was an amazing visual mystery. The manner in which he presented it had a great deal to do with the stunning impact. In a low key and casual manner Harbin would assemble the prop onstage, in front of the audience, before he presented it. This was amazingly strong theatre and made the trick even more astounding than it would otherwise have been. I have never seen anyone present the Zig Zag better than Harbin. Micro Macro. I first witnessed this masterful piece of magic performed by Jon Tremaine in the magic shop on Tottenham Court Road in London. He fooled me so much that I couldn’t believe I would be able to perform it myself after I purchased it. I got the trick home and was amazed at how simple Bro John Hamman’s thinking was in achieving such an amazing effect. It was simple but oh so subtle. Would it actually fool anyone when I presented it myself? After a little practice the answer was YES—everyone. Years later I was fooled all over again by the same trick when I saw Ron Wilson perform it in the Close-Up Gallery in the Magic Castle. When Ron stood up at the completion of the trick it was a total mind blowing experience to me. It was a perfect blend of performer and material. Card Under Ashtray. I don’t think I have ever witnessed finer misdirection than standing around in Davenports Magic Shop in London watching Pat Page improvise 1812around this effect. It was a lesson in magic that I will never, ever forget. It was one of the first times that I realized the incredible effectiveness of being able to repeat an effect. Every time my card arrived under that overflowing ashtray on the counter I gasped in amazement at Pat’s ability to break one of magic’s ten commandments as demonstrate the power of repetition made possible by faultless technical skill. The Vanishing Birdcage. I am not much of a fan of this effect generally speaking, mostly because it usually doesn’t looks that much like a real birdcage. Couple that with the incredibly unnatural manner in which the cage needed to be handled and it ended up leaving me cold, until I saw it performed by Billy McComb.There is a wonderful video of Billy performing it on YouTube that perfectly captures his masterful presentation. The freedom with which the cage was handled in the method McComb used was the first quantum leap forward in his routine. Without going into details, the amended prop and the handling it allowed just put the trick into another league. The finishing touch was the way the cage seemed to vanish under a translucent handkerchief, it was so much more effective than the standard vanish. When that silk floated gently to the ground the illusion was perfect. The Broomstick Levitation. piet-yvonneWatching the great Richiardi perform this effect was a pure magical treat of the highest order, however I am going to focus here on another performer and his remarkable handling of this seminal piece of magic. That magician is Piet Paulo and unlike most of the other performers I have listed here I am happy to say he is still with us, although sadly no longer performing on a regular basis. You will have to wangle an invitation to his grandson’s next birthday party if you want to catch this legend performing. Piet had a handling of this classic effect that was a masterpiece of angles. Every movement and the placement of each and every prop were psychologically and esthetically perfect to maximize the illusion. I must have seen him present the broomstick live on scores of occasions and it never failed to give me a thrill. The way he handled the applause points in the effect are a lesson in showmanship that bears a great deal of study by aspirant magicians.

The Five Greatest Magicians I saw Live……

•March 29, 2014 • 2 Comments

In the second of my five lists of five I want to reminisce back to the five magicians who really blew me away when I watched them perform. These were my peak viewing experiences and are amongst a mere handful of such moments during my fifty years performing magic. I have tried to add a little hint as to what it was that made them all so special in my eyes.

 Tony Slydini.

Slydini-photoBy far and away the most amazing experience I ever had as a magician was getting to sit down next to Tony Slydini as he performed and taught magic. It was in the late sixties in Ken Brooke’s tiny magic studio on Wardour Street, in London. Seated with me at the table were Pat Page, Bobby Bernard and a couple of other magicians.

What was so amazing was the sheer impossibility of everything that Slydini performed. It was one of the few occasions when what I saw didn’t look like tricks but truly appeared to be magic. A great deal is made of the fact that in order to perform Tony’s magic you need to adopt some of his style and mannerisms to make it work. Unless you actually saw Slydini perform live it is easy to fail to appreciate how incredibly natural his movements and performance were when he did them.

Billy McComb.

The first time I saw Billy perform was at the Conway Hall in London and his act included ‘The Half Dyed Silk,’ ‘The Gypsy

Thread’ and ‘A Chicken Production.’ I remember every trick almost fifty years later! What I remember most of all though was how incredibly funny he was. That was the amazing part about vintage McComb—the tricks were as strong as the comedy and combined together they were a blockbuster tour de force. Billy is still my hero.

Siegfried & Roy.siegfried-and-roy3

When I first saw Siegfried and Roy it was in their ‘Beyond Belief’ show at the Frontier Hotel in Las Vegas. I had just taped a ‘Merv Griffin Show’ at Ceasars Palace and with a certain reluctance decided to catch their show. Why reluctance? Well I was no big fan of grand illusion (I’m still not) and thought their whole image was overblown and rather dumb. I also was no fan of the use of exotic animals in magic.

The dice were rather weighed against my enjoyment of the show and then to my delight I was charmed, astounded and delighted by what I saw. It was a truly amazing show and made me a fan for life; in fact I had to catch the show again just to make sure I wasn’t imagining it. They performed a superb one-hour magic variety show and then just when you were ready to leave delighted, they did another thirty minutes of incredible non-stop magic. Truly ‘Beyond Belief.’

Albert Goshman.

The first time I saw Albert perform in the Close-up Gallery at the Magic Castle I was in magical heaven. It was the amazing skill that his show albert_goshmaninvolved coupled with a personality that was absolutely unique. It was just astounding the way those coins arrived under the salt shaker! Just as astounding was the brilliance with which he handled the two assistants who sat at the table with him. They were the ones who really ‘sold’ the magic but it was Albert who sold them!

Albert remains in my opinion the greatest master of misdirection I have ever seen, along with the late, great Jimmy Grippo. Sadly neither of these great artists were ever fully represented in video renditions of their work, as their misdirection just doesn’t seem to gel in quite the right manner.

Ross Johnson.

I am a huge fan of Mentalism and I consider Ross to be one of the absolutely convincing practitioners in this field. I could have chosen Max Maven, Glenn Falkenstein, Jon Stetson or Maurice Fogel easily in this category but I decided to go with Ross because I honestly feel he is the most convincing mentalist I have ever witnessed.

I remember being spellbound the first time I watched Ross perform his classic Blindfold Act in a small nightclub. There was a slightly edgy sense of self-irritation in his performance that I just loved. If he didn’t get it quite right, it seemed to bug him and drive him further into uncovering hidden details. He is truly a master of the wonderful world of mind reading.

Well that is this blog’s list, I thoroughly enjoyed the chance to re-think and re-live my first impressions of these master entertainers. Looking back at the list I realize that a key element is that they all really fooled me. I recently interviewed David Regal for an article and he stated that it was the real goal of every magician when watching a fellow magician to be fooled as a layman would. I think David is 100% correct!



Five Great Magic Books To Read……

•March 21, 2014 • Leave a Comment

professional_touchInspired by our recent South by Southwest (SXSW) Festival here in Austin I am beginning my own ‘5X5’ series of blog posts. I am going to create a five-week run of columns by detailing a list of five classic and totally personal favorite books that are required reading in my opinion. I am starting my lists with books because I still (maybe, I’m old fashioned!) think that studying from a book adds that little something extra to the learning experience.

I will have to begin with a Billy McComb book and although ‘McCombs Magic: 25 Years Wiser’ is the one I always refer to as the ‘bible of comedy magic,’ I am going to go with his 1987 book ‘The Professional Touch.’ This book was adapted from the wonderful audiotapes that my dear friend Martin Breese recorded as part of his Magicassette series. ‘The Professional Touch’ contains a treasure house of stories, tips and advice that are indispensable reading for any magician. It is a delightful little tomb that even includes a bonus in the form of McComb’s ‘Nap Hand Routine.’ I have serious doubts as to how many people are still familiar with the game of Nap in the era of Candy Crush, but a bonus is a bonus!

Of course, I would be remiss in not pointing out what a great little book Billy’s ‘The First Book of William’ is. However, I don’t think it is available at this point in time. On a historic level, it does establish Billy as the creator of the ‘Hot Book’ effect. This led directly to the ‘Hot Wallet’ without which most performers would have empty hands in their working photos!

The second book I want to recommend is by Roy Johnson, the ultimate master of smooth commercial routines. Much as I love his first book ‘The 656_Tales_from_the_Uncanny_Scot_Wilson_RonRoy Johnson Experience’ I am going to skip to his next book the 1971 release ‘Second Time Around.’ Why? Well it is a tough call but the gem in his first book ‘The Chewing Gum Trick’ is now made somewhat invalid due to the change in packaging in chewing gum! His second book contains his ‘Ultimate Key Routine’, which is truly a classic and well worth the price of the book.

My third choice is the 2010 book by Ron Wilson ‘Tales from The Uncanny Scot.’ Of course I could have picked Ron’s classic ‘The Uncanny Scot’ published by Richard Kaufman, I have frequently gone on record as saying it is one of the few books that contains an entire career for an astute reader. However, ‘Tales…’ is a glorious history of magic’s golden Californian era by someone who was there and knew all the players. Plus there are only a handful of copies left and if you buy it now it might well be worth as much as his first book in a few years.

I couldn’t decide which Harry Lorayne book to put on my list because they are ALL so darn good. I decided to skip the mental agony of decision and go with a Paul Harris book instead. There are also many fabulous options in the Harris canon but my eventual choice is Paul’s 1979 book ‘Close-Up Entertainer.’ Why? There are just so many damn fine tricks in it. If you don’t end up with some new gems in your repertoire after reading this book then trade in your deck of cards for a mandolin or take up ventriloquism!

harrispaulcloseupentertainerTo round out my list of five books I realized I needed to have a book of Al Koran tricks. I could have been traditional and run with ‘Professional Presentations’ and why not—it is a truly wonderful book. However, in case you haven’t discovered it yet, I am going to run with Martin Breese’s 2011 book ‘Al Koran The Unique Years.’ It is a fine collection of Koran’s routines from various sources that kinda’ fell through the cracks until Martin did such a magnificent job of rethinking the entire Koran legacy. There are lots of little gems hiding in full sight in this book.

Wait a minute! Where are my books from Alan Shaxon, Daryl, David Regal, Bruce Cervon, Max Maven, Bob Cassidy, Neal Scryer, Richard Webster………. Well I guess this is why I restricted the list to 5 books. I decided to restrict the numbers and go for the slightly less obvious books.  Incidentally, modesty prevented me from mentioning that I have a very limited number of signed copies of ‘Sleight of Crime,’ my long out of print 1978 magical murder mystery collection available for $40 via our website or at  Just mentioning it!

It is ALL about the Focal Point.

•March 13, 2014 • Leave a Comment

Nico blueIn my last blog I made some general observations about focus and how it can be applied to the writing, performance and general presentation of magic shows. I had some great feedback from magicians in what I had to say on this topic. Let’s take it a stage further…

In this blog post I want to discuss a very specific application of my general thesis of the importance of focus to a performing magician. In particular I am going to focus on the strictly visual aspect of this matter. I will do this by concentrating on one effect and then give a more general indication of how these theories can improve any magician’s performance.

To be specific, I want to go into a little more detail about the term ‘Focal Point.’ I have touched on this topic before and consider it a very important area for a magician to concentrate on. My first introduction to this term came from the amazingly wise English magician Ken Brooke. It arose while he was teaching me his version of the Linking Rings. Although I did not realize it at the time, what I was really learning in Ken’s studio was his version of Dai Vernon’s ‘Symphony of the Rings’ with one or two interesting variations. In the context of this article let me zero in on just a couple of these changes.

At the time, like most magicians, I felt that the Linking Rings was not fully completed until you unlinked the set of rings at the end of the routine ta7259and displayed them separately after the various linked formations. It seemed orderly, logical and had a nice sense of symmetry. However, Ken ended his version of the classic by going from the chain of six to spinning five rings on just one ring. He felt that anything beyond that was anti-climatic to a lay audience. A very specific form of focus was inherent in this decision, along with the choice to use six rings instead of the (at the time) much more common choice of eight rings. These two factors made it easier for the audience to focus on the core effect of taking separate rings and linking them together.

Along the journey in Ken’s tutoring he placed a great deal of emphasis on where the audiences’ attention and visual focus was during the routine. The exact spot where the action supposedly took place was the area that Ken called the focal point. I have always kept his teachings in the back of my mind and looked for other areas where they could be beneficially applied. Remember a human being can only look in a limited area of a specific place at any one moment.

It is easy for a lay audience to see the various manipulations of the rings as a blur of action and somewhat closer to juggling than individual feats of magic creating a unified chain of events that build on each other. When you slow down the action and have a spectator hold one side of a ring while you concentrate on the upper section and perform a ‘crash through’ link, you really punch home the key effect.

Ken BAs a stand-up comedy magician I have gone to great lengths to try and be very aware of where the audience’s attention is while I try and juggle the dual disciplines of letting them see the magic I am doing without loosing the benefits of looking at my face as I present the comedy. Verbal comedy is stronger when the audience sees your facial expressions as you say the lines. It causes them to focus on what you are saying and the words you are using.

Sometimes you can dramatically improve the reaction to what you are doing magically just by moving the important actions closer to your face. In TV terms blocking the action in terms of a close up shot and raising your hands from performing their movements somewhere between the middle of your chest and your jaw line. Sometimes you want to raise the action even higher.

What makes the ‘Gypsy Thread’ such a powerful effect is the moment when you raise the broken pieces to your mouth and blow on the bundle as they gracefully restore into one length. The audience knows exactly where to look and can be influenced in their reaction by your facial expression.It is this kind of attention to the ‘Focal Point’ that allows me to perform smaller magic to large audiences with very great effect. When you want to open up the ‘Visual Theatre’ then it becomes a definite statement and adds nicely to the variety and texture of your performance.

For those especially interested a full scale explanation of my thoughts on this topic are contained in my ‘Ultimate Linking Finger Ring’ routine and my DVD ‘20210s,’ if you wish to explore these ideas more thoroughly than is practical in this short column.

Boiling it down to Focus.

•February 27, 2014 • 2 Comments

focus |ˈfōkəs|

noun (pl. focuses or foci |ˈfōˌsī, -ˌkī| )

1 the center of interest or activity

• an act of concentrating interest or activity on something

• Linguistics the part of a sentence given prominence, usually for emphasis or contrast

2 the state or quality of having or producing clear visual definition

verb (focuses, focusing, focused or focusses, focussing, focused

1 (focus on) pay particular attention to

• [ with obj. ] concentrate

Focus-2-300x236Actually there were about three times as many words used in the dictionary description of the word focus. However I chose to edit them and focus the description to make my meaning clearer in the context that I am using it.

We usually think very hard, for rather a long time about what we want to express and display in our magic shows. It is easy to forget that most people have only one ‘real time’ chance to watch and understand what we are doing in our shows. To maximize their experience we need to help them as much as possible.

Sometimes we need to clear away some of the peripheral elements to enable our audiences to clearly follow what we are doing, and appreciate it more fully. Comedians are very careful to prune the words they use to achieve maximum impact. Unless it is a very specific facet of their style, one unnecessary word is one too many, because it distracts from the overall effect.

The much quoted and perfect example is Henny Youngman’s classic joke, “Take my wife. Please.” There is the ultimate four word joke, three short hennywords to set it up followed by a one word punchline. It is impossible to make this joke any funnier by adding a word. It is already perfectly focused.

While this kind of discipline is vital to the spoken words in a show, it is also interesting to observe how important it is to the visual elements that form the true basis of a magic show. The strongest magic effects are the ones that can be summed up in a few words. These are the tricks that people remember because the effect can be distilled to the fewest words. “He sawed a woman in half!” “She pulled a rabbit out of a hat!” “He floated her in the air!”

None of these timeless examples described mention how the effect was achieved or the actions that achieved the results. Audiences don’t remember the choreography that accompanied the ‘sawing’ illusion but only that the girl was dissected and restored. The audience is only truly aware of the magic that is the central focus of the effect.

Ken Brooke 1.2On a less abstract and very practical level, I was fascinated to witness the way that legendary magician Ken Brooke discarded one of his strongest routines and replaced it with something much simpler in order to make the trick easier for his audience to appreciate. Ken used to perform a wonderful version of Dai Vernon’s ‘Cups and Balls’ but streamlined the effect by replacing it with the ‘Chop Cup.’ He did this because he was a great believer in paying close attention to his audience’s Focal Point. He eliminated two cups, a bunch of small balls but still ended up with a double production at the finale of the trick.

Part of Ken’s theory was that his audience members only had two eyes and could only focus on one thing at a time. He certainly had a point. The entire effect of a classic ‘Cups and Balls’ routine is retained but simplified to a lay audience. He felt, correctly in my opinion, that too much ‘foreplay’ with the cups and balls was confusing and less interesting to an audience of non-magicians than it was to other conjurers.

Ron Wilson took this approach to the effect a stage further and replaced the fancy metal cup with a paper cup, did two opening gambits and then produced the two final loads. If you were lucky enough to have seen Ron perform live, then you don’t need to be told how unbelievably effective his manner of focusing attention on the central action in his show was. Focus. It is a really good thing to do.

New Rules for Magicians (The rest of my top ten!)

•February 19, 2014 • Leave a Comment

IMG_4923Here is the second half of my top-ten list of ‘New Rules for Magicians.’  As I mentioned in my recent blog I was lucky enough to work with ‘New Rules…’ creator Bill Maher in the early days of his career.

Back in the seventies and eighties one of my favorite places to work on new material was ‘The Horn’ in Santa Monica. This was a gloriously eclectic little Californian nightclub that boasted a house band and a widely divergent group of entertainers. If you managed to score one of the highly sought after performing slots, you never knew whether you’d be following an opera singer, a jazz musician or a comedian. It was a splendid place to hone your craft.

Amongst the comedians who performed regularly at ‘The Horn’ was David Letterman who would walk to the club with his large sheep dog. The dog would remain tethered at the door of the club while David dashed in and performed a short set.

The first time I met Bill Maher was on an evening that I was acting as M.C. at the iconic LA nightclub ‘The Horn’. I was in the green room discussing the running order with the club’s booker when I spotted an unfamiliar name. I asked the booker in what I hoped was a suitably quizzical manner; “What exactly is a Bill Maher?” At that moment a short and rather crumpled chap walked through the door and with a big smile said; “I am you A%?@#$ !” I have been a big fan ever since.

Here are the next five ‘New Rules for Magicians,’

Rule #6                                                                                                                                                                                                                                               If you aren’t funny don’t tell jokes. Not everyone is funny. This is an honest to God truth: believe me I know I was there once when Franz Harrary addied a dash of verbal comedy to his act. Comedy may not be pretty but it shouldn’t be painful. If you are not a naturally funny performer then put away that Bob Orben joke book and instead find a trick that creates a situation which is humorous.

 New Rule #7                                                                                                                                                                                                                                Take a good look in the mirror and decide the kind of performer you actually look like. Not what you want to look like but what you actually look like. Don’t fool yourself—your job is to fool the audience! Make a realistic appraisal of what you see in that mirror and perform accordingly. Of course if you look at yourself in the mirror too early in the morning, without shaving and are wearing the clothes you slept in—well hey, maybe that David Blaine thing is the way to go.

New Rule #8.                                                                                                                                                                                                                               Just because you paid a bunch of money for a prop doesn’t mean you have to extract an additional amount of time from it in your show. In spite of owning that solid gold thumbtip you bought from Joe Stevens (which was individually crafted by Joe Porper and modeled on Pete Biro’s actual digit) you don’t have to stretch the cigarette in jacket to 30 minutes.

Use that one of a kind prop in the manner in which it was intended: keep it in a box at home and only show it to magicians to make them jealous.

Rule #9.                                                                                                                                                                                                                                                    Don’t treat your audience like idiots! Your job is to deceive and the spectator’s is to be deceived. There is no need to assume that an audience is comprised of morons just because they fulfill their half of the mutual bargain. Be grateful they know the rules. Let’s be honest you might not want them to really tell you how deceptive your double lift is after they have seen it 4 or 5 times in the course of a routine.

Rule #10                                                                                                                                                                                                                                               If they ask for 20 minutes then do 20 minutes! Go on be a professional, there may be a reason that they asked for 20 minutes. Because you are going over well does not constitute a better reason for doing 40 minutes. It is a fine exercise in self discipline to stick to your running time and at worst will result in you getting home 20 minutes earlier and/or not irritating the act who has to follow you


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